Melek Mosso - Kızgınım - Chord

Key Db major – Bb minor Chords Bbm, Gbmaj7, F7, Ebm, Db Easy key G (capo 6)

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Capo 0

   Bbm            Db
Yoksun artık, çok mu korkuttum
   Gbmaj7              F7
Şarkılar yarım kokunu unuttum
  Bbm           Db
Benim yolum dar ve yokuşlu
   Gbmaj7             F7
Çok üzdüysem bu benim suçum mu

  Ebm             Bbm
Kırıp atsaydım kalbini bir köşeye
   Ebm                    F7
Sormazdın belki bu öfke niye

Gbmaj7           Bbm
Kızgınım çünkü sana inandım
  Gbmaj7               Bbm
Peşimden koştun ya seveceksin sandım
    Gbmaj7
Sen bilmezsin ama
    Bbm                      Ebm
Bir yangından kurtardım kendimi
          F7           Bbm
Sen de yakma, lütfen beni

  Bbm             Db
Neler duydun karardı kalbin
    Gbmaj7          F7
Yeniden sevmeye yok mecalim
       Bbm             Db
Hani yanımdaydın şimdi uzaktasın
   Gbmaj7                F7
Geçmişi suçlamaya pek de meraklısın

  Ebm          Bbm
Bağırsaydım kızsaydım yüzüne
   Ebm                    F7
Sormazdın belki bu öfke niye

Gbmaj7           Bbm
Kızgınım çünkü sana inandım
  Gbmaj7               Bbm
Peşimden koştun ya seveceksin sandım
    Gbmaj7
Sen bilmezsin ama
    Bbm                      Ebm
Bir yangından kurtardım kendimi
          F7           Bbm
Sen de yakma, lütfen beni

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Melek Mosso - Kızgınım Tabs

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Harmony analysis

Melek Mosso – Kızgınım: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm, Bbm is heard 14 times against 4 for Db and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Db or to Bbm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	4×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	6×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V7/vi	F7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	8×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	10×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	14×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	14×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	4×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	6×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V7	F7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	8×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	10×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 42 times in total; 4 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm.

Chord movement

Gbmaj7 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×6
F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×4
Ebm F7 Dbii → V7/vi Bbmiv → V7iv → V ×4
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2

The move to watch is Gbmaj7 → Bbm, heard 6 times. From the Bbm side it is VImaj7 → i (VI → i: falls a half step into home); from the Db side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over F7, land on F, A, C — the chord's own tones always sound right on strong beats.
When F7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Bbm; the ear learns where home is within a second. Bbm, Gbmaj7, F7, Ebm carry the song: vi–IVmaj7–V7/vi–ii relative to Db, i–VImaj7–V7–iv relative to Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gbmaj7 → Bbm (IVmaj7 → vi in Db, VImaj7 → i in Bbm): VI → i — falls a half step into home. Ending on Bbm, the song seals Bbm as home.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.